What we at first found intriguing about Simon Gush’s Red, what the documentary and the installation seemed to mutually conjure, was the Mandela car as a body to be mourned.2 Mourning recurred as a latent theme through the ...

To frame this paper, which given its focus on the installation Red should ostensibly deal with a question of aesthetics and technology, with an epigraph that situates the contemplative capacity of a cow alongside the echo ...